mystery
The Autopsy of Jane Doe has an absolute doozy of a premise, but it soon gives way to ticking off every horror cliche in the book.
Alex Arabian discusses Donnie Darko, a masterpiece that remains one of the most relevant, urgent and timely films of the last 50 years.
Told in reverse order, Shimmer Lake is a fresh take on a murder mystery, and also sports some fine performances from usually comedic actors.
An open mind and a willing heart are needed to appreciate Slack Bay’s zaniness; it’s a lot of fun when the initial peculiarities settle.
Jasper Jones, Rachel Perkins’ sweet coming-of-age story about racism in a rural town, is one of the best Australian films of recent years.
Personal Shopper is the rare film that is unclassifiable in terms of genre, refusing to neatly fit in to the preconceptions of a horror film, as well as lacking a distinctive explanatory reading.
Instantly captivating and undeniably intriguing, Get Out may be the “diamond in the rough” film of the year.
Girlfriend’s Day is a film that is occasionally funny, yet it tries to ambitiously blend multiple genres, in a way that only partly works.
Kaili Blues is a debut feature that is inspired by many Chinese filmmakers that came before; yet it emerges as a unique and compelling film.
Twenty Twenty-Four is a sci-fi that alerts its audience as to a possible world-ending scenario, though it’s not a complete success.
Holiday Horrors provide a comforting alternative to the forced gaiety of the season – and Black Christmas is one of the best to watch.
The Unknown Girl sees the directors yet again flirt with their beloved recurrent theme of criminality, here taking their most overt detour into procedural thriller territory to date.
Come, Sweet Death is an Austrian film from 2000 that, though grim and darkly funny, might be the perfect representation of the country.
Oscar winners Tom Hanks and Ron Howard reunite in their third collaboration on a Dan Brown adaptation, Inferno. Small wonder. The Da Vinci Code grossed better than $750 million worldwide, and its sequel, Angels & Demons, based on a lesser known novel that marked the first appearance of globe-trotting symbologist Robert Langdon, pulled in close to $500 million.
Sure, we’ve all heard the rumours: topping the critics’ pick of the flicks for this century, hell, this millennium so far, is David Lynch’s Mulholland Drive. But what exactly happened up in the darkness of those famous hills, on those enticing yet savage switchbacks?